**For additional events leading up to the conference weekend, see the related events page**

 

Friday, November 13

  • Session 1: "What is Rock: Definitions and Roots" - 3:00-5:00 pm, Neal-Marshall Black Culture Center (BCC), Grand Hall

      Panelists: Kandia Crazy Horse (rock critic)
        Stew (singer, songwriter--The Negro Problem; playwright--Broadway musical Passing Strange)
        Ike Willis (former lead singer, guitar--Frank Zappa)
      Moderator: Andrew Hollinden (Senior Lecturer, Indiana University, Jacobs School of Music)

  • Mixer and Light Reception - 5:15-6:30 pm, Bridgwaters Lounge - Open to conference attendees with "Full" or "Friday Only" registration and invited guests only
  • Dinner on your own - 6:30-8:30 pm
  • Free film screening of Afro-Punk followed by Q&A session with director James Spooner (see "Related Events") - 8:30-10:30 pm, Woodburn Hall, Room 101


Saturday, November 14


Panel Descriptions

Session 1:

“What Is Rock?: Definition and Roots” This panel will examine broad areas: (1) the ways in which African American rock musicians conceive of and define rock as a musical genre; (2) how rock is situated within the broader spectrums of African American music and American popular music; (3) the social and political context for the emergence of this music; and (4) the role of rock in African American community life.

Session 2:

“The Politics of Black Rock: Race, Class, Gender, and Generation” will explore the role of race, class, gender, and generation in shaping the multiple identities of participants in rock, as well as the ways that African American rock musicians have negotiated these identities within the context of the music industry, mainstream society, and African American communities.

Session 3:

“The Face of Rock in the 21st Century” will explore the status of rock in the 21st century—how rock is conceptualized/defined and how has it been transformed and reinterpreted; the role of African American musicians in this process; current trends in rock; the use of technology for creative, marketing and distribution approaches; the reception of Black rockers by the music industry, mainstream, underground, and international audiences; and African American communities, etc.








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